To celebrate the 30th anniversary of their iconic album, ‘The Downward Spiral’, Behind The Gallery in Melbourne have collaborated with International award-winning documentary and feature film writer/director Jonathan Rach, who captured Nine Inch Nails’ era-defining photography during their 1994-97 extensive global tour. Andrew Slaidins caught up with Jonathan to have a tog on tog chat about his art, travelling the world with Nine Inch Nails and much more.
Andrew : Hi Jonathan, welcome to The Rockpit. Thanks for taking time out of your busy preparation schedule. How are you?
Jonathan : I’m great Andrew thanks for asking.
Andrew : First and foremost congratulations on the launch of Behind The Galleries, Nine Inch Nails – The Downward Spiral showcase gallery. Can I ask why do such a launch in Melbourne?
Jonathan : Steven who runs Behind The Gallery put the gallery together and is from Melbourne. When we were originally planning to do this, we were thinking about doing Sydney and Melbourne. We decided on doing just one and Melbourne was the place to do it. It’s been quite some time since I was last here; I love Australia, so for me to be able to do this it’s very exciting. As I understand it Nine Inch Nails don’t get down to Australia that often. Having said that in the conversations I have had with Trent he loves it here so in a way it’s a nice way to bring something of the bands to Australia and have fans gather and connect over the event.
Andrew : From the people I have spoken to about the event it really does have a buzz around it. It truly is a time capsule of a time that was pre internet, pre digital, pre social media and it’s interesting to be able to go back to take in a time that was quite so accessible. The world was on the cusp of opening up to the internet going back and rediscovering these images and that time what did it stir in you?
Jonathan : That’s a great question and it’s correct what you said about juxtapose to digital and photoshop, everything that we have now. As you know back then you pointed the camera took the picture, sent off the film and you waited a week. You got your contact sheet back and with a magnifying glass you tried to pick which ones would look good blown up. Being on tour you would send the negatives off and wait so it was a very long process opposed to now where you can literally take a thousand images and look down at your digital screen and see if you got something. There is no extra expense and volume when you snap away. Emotionally; there is something extra special about it. Nobody looked at these photos for twenty something years. I had some up on my Instagram and on my website, but the majority of them haven’t been seen in thirty years now so to go back and look at them and rediscover them. It was almost like opening a time capsule, so much time has passed it was almost like looking at them in a third person perspective. There was no immediate connection with anything but the image itself. Looking back, I asked myself did I really realise what was happening back then, that the event would be so important and relevant to today that it would be worth going and seeing these images presented in this way. I feel lucky that I was in the right place at the right time, realising that there is a bigger audience out there for these photographs other than just for yourself or the people in the photographs; that they have a meaning. I guess the emotional response is that you feel lucky that you were there.
Andrew : It was a monumental time in music too, the entire landscape had shifted. Without taking anything away from how polished music had become in the late 80’s and early 90’s. Music became an artform again musically and visually; that whole time frame had a really edgy and artistic flair to it. When you get thrust into what appeared to be a world on fire type of movement/environment and your job is to document it in video and photographic form as you did with the ‘Closure’ video release what goes through your mind when you are in the thick of capturing it and how do you see it now?
Jonathan : Well the first thing that goes through your mind is now I’m older. You kind of have to take yourself out of that older person perspective and say wow you were in your twenties and you were travelling with this artist that was a generational defining artist. During the height of it all I never heard anything negative about what Trent and Nine Inch Nails were doing. It was quite the opposite, what Trent was doing was just so different, inventive and powerful. Evidence of that was David Bowie wanting to join the tour. You had guys like Lou Reed just gushing over the performance backstage. At one point I remember I was in Trent’s studio with him and the studio manager was like I’ve got Madonna on line seven and she wants to talk to you about producing her next album and Trent was like Ok, but I will have to call her back (laughs). Its moments like those that you realise that you are at the centre of something that just connected with everybody, artists, fans. To tell these stories now is a bit like back in my day (laughs) but it takes telling stories like that to whoever wasn’t there for them to really get it and the impact of what was going on. Getting to live it as a fan and be a part of the process of it all. Why it was resonating with me and obviously with an arena full of people every night was I felt that Trent was doing something that was cutting through the bullshit. It was as like he was speaking for everybody; yes, tear it all down, destroy it all, this is not right, we are not accepting what we are told to take on and we are going to tear it all down. In that debris, now what? What is it? You had these moments where you were lost and vulnerable. It just stirred every emotion, spending the majority of the day with the band and then having that moment where the actual performance happens; to be on stage and in the audience, I was given this privilege to literally roam anywhere and I was always going to where I felt the energy was.
I remember a story about somebody that was a very respected producer kind of saying to Trent do you have to destroy your equipment (laughs), it’s not what a musician really does. I remember being at that lunch and saying when you out in that crowd and it happens the crowd roars. It was like they were saying yes, yes, destroy it all we aren’t accepting any of this bullshit. This is somebody else’s generation and it didn’t feel gimmicky, it didn’t feel like the instrument wasn’t being played when it was being destroyed it felt like that is what you should do right now, you should destroy that instrument. It did its thing and it’s not enough so I am going to try and get extra sounds out of it playing it with my foot (laughs) and every single key from the keyboard is flying out into the crowd. Never once did it ever feel like it was a gimmick to smash a guitar, it just felt like that was the thing to do in that moment and the crowds just reacted. It was never just a one note neanderthal kind of thing it was very intellectual and layered.
At one point in the show screens came down and there was an opera gauze, these very sombre images were played; Trent was lit up behind it as he sang, everyone was quiet. It was amazing to see how things went from riot to being quiet and then back to a riot. How do you get an audience to do that? The crowds were respected and intelligent, it was pretty amazing to witness. I understood, when you look back on it now, that is why David Bowie would say I want join that tour, I want to be a part of that. Why Lou Reed comes back and goes it’s just great what you are doing. Trent was always very grounded and humble about it all, there was never any I’m from a greater stratosphere now attitude from him. Trent was always very true to himself, true in him, as chaotic as it all was his truth kept it all very grounded in some weird way.
Andrew : Trent always seemed to be the kind of artist that was humble and respectful in the art that he created. He seemed to be proud of what he was creating and how it carried his message. With everything Trent did from lyrics to imagery I often wondered what Trent was like as a person what made him tick. Being on the road with him for such a long time you would have seen a side of him that the public didn’t and got to know him in friendship. How was your relationship with Trent personally and professionally?
Jonathan : It was great. I have all the respect in the world for him as an artist. We were and still are friends to this day. You get that he is a very intelligent guy, he is very talented artistically with music and then you learn some of his philosophies. He is the kind of guy who aims to do something different, who wants to try something new and it’s not in the way of trying something new for the sake of it being new or different it has to line up with the truth of the art it has to connect in some way. To give you an example Chris Vrenna the drummer from the band during that time told me this story. They were working on a song at the time and Trent kept saying to Chris just play the drums wrong. Chris was like I don’t know how to do that. I have never had anybody tell me to play the drums wrong. Trent was like everything should just stem off here and emotionally I don’t want to hear drums being played correctly (Jonathan admits to adlibbing and hopes he is doing Trent justice). Chris whose whole life has been about playing the drums correctly, however you define that. Trent was like turn that upside down and put it on it’s head I want to her something that is not played correctly, he struggled with that and eventually Trent tried to show him what he wanted. Maybe in Trent not being a drummer it was easier for him to convey what he wanted Chris to do he finally got it. Yet when you hear the song on the album it’s like that’s exactly as it should sound, there want room or a place for a polished drum solo or fill it matched the emotions. Then to see it live, that chaotic drum playing is now how you see and hear it played every night the same way. Where it came from was this idea that it should not feel right it should be all wrong, to slowly work on that and have that final expression, hearing it live is so refreshing to hear this crazy chaotic drum solo that is just so perfect right in there.
Personality wise Trent is just a down to earth guy and very easy to talk to, emotionally intelligent, he strives to try and do things differently. It was the same thing meeting David Bowie and being able to have some conversations with him, Bowie’s approach was that you are better off trying something different that makes sense with what you are trying to say rather than go down that same predictable road. That is the secret to these guys, they are just constantly trying to expand and experiment, creating something that is refreshing to the audience.
Andrew : Your work with Trent and Nine Inch Nails involved both videography and photography, which one came first for you? Was there a love of either that just merged into the other? What lead to those opportunities opening up for you?
Jonathan : Originally I entered that world via stage design. I submitted a stage design to Trent and hung out with him. I was not a photographer or a videographer at that time. I was focussed on visuals. What won the day for me at that time was my vision. It was my stage design that they accepted. I think Trent saw something in the way that I was thinking and it goes back to what I was saying before. Mine was totally different to anyone else’s, I had nothing in the middle of the stage, I had shoved everything off to the sides. For whatever reason mine stood out. I guess he had some confidence that if I came out and documented the tour that I would have the most bare minimum ability to at least point a camera and maybe I had enough common sense on how to frame a photo. The other thing is this too for anyone wanting to do this for a living is personality you need to have social skills that allow you to fit in because you do end up living intimately and intensely on a tour bus or on an airplane. If you are going to document the band you really become a part of that little nucleus. The tribe has a certain way of speaking and talking, what’s funny, what’s cool, when to say something and when not to say something. It’s those things that you have to learn really quick. They are vital and possibly even more important than your technical skill. So basically, Trent came out and asked me if I wanted to come out and document the tour. He was taking a chance on me and from there it allowed me to go out on tour with David Bowie and go on from there as I now had a resume that was impressive from the names on it alone. That’s how that happened.
Andrew : It must have been such an amazing experience going from sketch to documenting your final vision. Was designing a stage for Nine Inch Nails your first attempt at stage design? What was it that drew you to the music industry?
Jonathan : I was living and going to college on the east coast of the United States. I started working for a concert promoter while I was going to college and got trusted with looking after the dressing rooms and going to pick up artists from the airport, taking them to radio stations for promotions. I found myself in that team that were putting these concerts on as the guy that was allowed to go near the musicians. These were big names too, they were the promoters in that area. For example we were doing Pink Floyd at the stadium and I was in charge of the Pink Floyd dressing rooms. They had multiple dressing rooms, it was like one entire floor was their dressing rooms. All of a sudden, I find myself in one of their dressing rooms, they had just done their soundcheck and were having dinner in their dressing rooms and Roger Waters comes up to me and says “What the band would really like is some hot fudge Sundaes”. I scramble and try to figure out where to get them from I talk to catering and in the end I literally had a police escort to get out of the stadium, get their sundaes and get back in time for them to have them and go on stage. There were sixty thousand kids coming in and traffic was never going to let ice cream prevail. They gave me a police offer on a motorcycle to get me out and back into the stadium with hot fudge sundaes for the band. I got to do all these crazy things for bands and got introduced to all these shows and when it came to the bands being on stage my job became a little more relaxed so I would just go out front and watch the show. I studied the stage designs and I became intrigued with the stage designs of all these different artists. Then I was in the proximity of Nine Inch Nails and was in a place where I could present my stage design to Trent and I lucked out, he really like the design and chose it. The next thing I know is that I’m working closely with him and he read my character and decided I was safe (laughs) and could do the job and everything just happened from there.
Andrew : Had you worked or wanted to work and design for Nine Inch Nails earlier than the Self Destruct tour?
Jonathan : The Self Destruct tour was the first time I had worked with Nine In Nails although I had seen them on the Pretty Hate Machine tour. That show was incredible by the end it would turn into complete chaos, have the audience would be up on the stage. My friend and I were like let’s go and were up on the stage too. It’s funny to think that three years later I would be designing their stage and documenting every show. That is such a surreal thing to look back on.
Andrew : Even at the time that The Downward Spiral was released Nine In Nails still had that element of mystery to them, nobody really knew who they were or who Trent was and in many ways were the complete opposite in image to other genre similar bands like Marilyn Manson of the time. Did you ever cross path’s with Marilyn Manson?
Jonathan : They were opening acts and Trent had worked on their album, they were around more than most of the other opening acts. To go back to what you were saying at that time Trent was very mysterious at the time, there wasn’t a lot of coverage on him other than the music and music videos. At that time he was not very visually recognisable. I remember one time during the Self Destruct tour Trent we had a couple of days off in Florida and decided to go to this crowded bar to have a drink and just hang out. We nudged our way close to the bar and that day I happened to have a Nine Inch Nails t-shirt on because I’m now down to the free t-shirts they gave as my laundry hadn’t been done. There is one row of people between us and the bar. I have Trent standing beside me and a kid on the other side of me who see my Nine Inch Nails shirt turns to me and says “Nine Inch Nails huh? What’s that guy like? What’s Trent Reznor like?”. I standing next to Trent and turn to this kid and say “I don’t know, never met him, I have no idea” and this kid goes on an and on Trent is beside me hearing everything this kid is saying. There have been a lot of surreal moments like that over the years where you are just hanging out somebody. One time we were in the car in Los Angeles and Trent’s song comes on the radio. We were stopped at a red light and there was a car full of girls next to us, messing around Trent turns up the radio and looks at the car full of girl in a joking way playing up to it and the girls all blow him off as if to say what a looser not realising it was him.
Andrew : Did you come out to Australia with Nine Inch Nails for the Alternative Nations shows back in April of 1995?
Jonathan : Yes I did and some of the images on display were taken from those shows and included because they were taken in Australia.
Andrew : Having spent two and a half years travelling the world with Trent and Nine Inch Nails, compiling all of your images and then footage that became your documentary of that Self Destruct Tour. How long did it take you to put together the ‘Closure’ release?
Jonathan : It took a while, I mean I just had so much footage that tour was close to three years long. It was intense, by the end of it everybody just needed a break from it. When Bowie joined the tour the original run was extended by another six months. It was a long tour and I had so much footage. By the end of it instead of just having tapes and tapes of dressing room footage I would put a marker by putting my hand in front of the screen for like ten seconds to remind me that there was something worth reviewing or looking at. When I would see a hand scrolling through the footage I would stop and go back and take a look at it again. It allowed me to instantly knock out at least half of that raw footage without having to watch it all. Putting the footage together we took our time with it. We would do some, stop and come back to it after a bit. I think we put the footage together in a year and it came out a year after that as ‘Closure’.
Andrew : Did you have any input into the making of the ‘Broken’ short film? I recall that hitting bootleg trading circles around the same time as ‘Closure’?
Jonathan : I didn’t, that was all prior to me. I was only involved in the Downward Spiral album and the Self Destruct tour. I was there for a little bit at the very beginning of ‘The Fragile’ and then I left.
Andrew : You would have been there for Woodstock 94 too. What do you remember about that? Do you have a story from that show?
Jonathan : It was insane. We had been on the road so long travelling to Woodstock. Our bus was creeping in at like three in the morning. We were creeping onto the grounds and there was still a show happening on one of the side stages. Security was directing us to where we needed to go. It was surreal being there. I remember we woke up that morning to David Crosby of Crosby, Stills, Nash and Young yelling at the tour bus, telling every one don’t move, don’t move! I remember looking out the tour bus window and seeing David Crosby telling us to not move. What had happened during the night was a telephone pole had fallen over during the night and a live electricity wire was laying over our tour bus, there was live electricity going all around the tour bus. That’s what we woke up to that morning. Everybody was standing around the tour bus. I took my video camera and through the window I start filming, not touching any part of the bus and began filming David Crosby yelling at us because I though that has got to be included somewhere (laughs) and when I looked back at the footage there was interference in the video from the electricity. We literally could have all been electrocuted, it was a full-on giant wire from the system they had built on the site. Somehow it had fallen on our bus. Thankfully we weren’t touching metal, I don’t know how we weren’t so we were held hostage for about half an hour while they removed the live cable from our tour bus. So that was our introduction to Woodstock. We all could have been electrocuted; how would that have looked in the archives of history?
Andrew : I recall seeing some incredible shots taken on stage from that show was that your work?
Jonathan : No it wasn’t my work. When the show happened, Joseph Cultice was the photographer on stage. Joseph got these amazing photos of Trent covered in mud. I was put in the control room where I was supposed to help the director capture the show as I knew the show intimately. They thought that if I sat next to the director that was doing the broadcast live to the world, I could say hey there is a guitar solo coming up here, get your guys to focus over here so you can catch the beginning of it. That was my role on that show. Once the performance was over, I grabbed my camera bang and raced back to the dressing room to capture the after-show images. It was pretty amazing and definitely a highlight for me of that tour.
Andrew : Another notable thing from your career was that you were given the task of documenting the tenth anniversary of the Warped tour. What else followed Nine Inch Nails and do you ever see yourself going back and working with Trent and Nine Inch Nails again?
Jonathan : Trent and I did work together again in 2018. He had six sold out shows at the Palladium in New York City and he asked me to come out. We did a bunch of photography of those shows a limited edition run of those six nights. From there I did do a lot of high profile artists because I had David Bowie, Nine Inch Nails and all these big names already accredited to me. I did a lot of festivals from there Lollapalooza and Warped and for some time I was out with Axl Rose. I was doing a documentary with Axl for Axl. It never saw the light of day but it was all captured. He has all that footage. That was at the time of Chinese Democracy coming out right before Slash re-joined.
Did you ever see the Osbournes? That was my creation, my idea and concept I came up with for Sharon Osbourne. She wanted to do a documentary on Black Sabbath and I said send over everything that you have. There was this one thing from the BBC that stood out to me. It was an interview with Ozzy, he had his little daughter sitting next to him in a floral living room that could have just as easily been the Queens living room. There is Ozzy sitting in this distinctly regal floral living room, his daughter beside him as he is speaking, every second word is a cuss word. His daughter in perfect English is saying don’t swear daddy. I was like oh my god Sharon there is your documentary right there. That was a highlight for me to create something like that.
Andrew : Working with Axl and Ozzy there must have been a heap of really special moments that you would have captured simply be being in the presence of those personalities.
Jonathan : Definitely when I was out with Guns N Roses there were a lot of those moments where I would simply think I can’t believe I’m witnessing these moments right now. I remember people asking me what’s it like being out with Axl Rose and I would tell them a couple of pretty crazy stories. Just the sheer size of the fan base, witnessing Axl doing what Axl wants to do stuff. These stories are exactly what this person I was talking to wanted to hear and how he expected Axl to be. They didn’t want hear about Axl conforming to everyone around him, they wanted to hear of him being that rebellious dude doing whatever he wants to do and letting it all go to chaos. That chaotic Axl is what they wanted to hear about. They didn’t want to hear that his persona was calculated and that he is exactly the same way onstage as he is backstage. I can definitely say that he is and there is no denying that.
Andrew : Going back to the gallery and exhibition what has the feedback and reaction you have been getting for it?
Jonathan : I think it’s really cool what Steven has been doing, what Behind The Scenes gallery is doing. I think it’s very cool that fans are reacting to it. I think it’s a chance for people to connect with their tribe and their people and share a love of Nine Inch Nails. That there is that camaraderie at a gathering; it’s an excuse to gather and be in that energy and meet people. Hopefully the photographs are there to evoke emotions and help you imagine what it was like to be there and tells a story of some sort. I think it’s great that Steven is devoting his energy to creating these environments where fans can come together and hang out. It’s not even the whole night maybe there is dinner before or after it’s just a great night out. I am always impressed with people that are very passionate about something. You have to give them credit for being passionate. Passion is just such a great state of mind. I have a friend that is just a fanatic about all the Batman movies, The Dark Knight etc. I was trying to relate to it and the thing that drew me to it was just how it lights him up and that is so cool. He knows absolutely everything about the movies and it’s just such a cool thing to be passionate at that level. Steven has created an event for people that are truly passionate to gather and do their thing, it so cool.
Andrew : Before we even locked in to chat about the Behind The gallery event had shown up on my socials pages and it had me intrigued. I’m actually a live music photographer myself so there were a couple of immediate connections for me the first being the love of live music photography or music photography of any sort, the second being a Nine Inch Nails fan and my appreciation and of what they did and still do. I remember being so drawn to magazines like Circus and Kerrang for the live photos as a teenager. Kiss as a kid changed my world from a visual impact standpoint.
Jonathan : Thank you, it’s nice to know we already have a connection of sorts without even really meeting. That what’s it’s all about for me the connections with fans, artists and other creatives. It’s cool that you have your own thing going too. It would be cool to check out some of your stuff too.
Andrew : Going back to what you said before about being a part of a team, a band of people, my own journey has seen me in the presence of many iconic Australian artists, I have friends in international touring bands that have allowed me into their world and space behind the scenes and how you interact is always key to maintaining these opportunities. I often tell people that at the end of the day musicians and touring artists are just people like you and I and that they just have a public persona. They go through the same things we do so to treat them any differently to a friend or family member just doesn’t make sense. For somebody who is looking at getting into the industry do you have any advice?
Jonathan : I think it has a lot to do with your demeanour, can you fit in? Are you easy going? Do you understand the rules of that little nucleus you have been given access to? As you probably know there is a sensibility to your photographs that either you have or you don’t. I don’t know if there is a right or wrong, but if your sensibility resonates with people then there is a chance it will connect and it will work. I would say it is about relationships, you don’t need to have this incredible technical background. I would even go as far as saying make your equipment as minimal as possible. Give up a little bit of quality for more accessibility, maybe not in the audio end of things. You don’t need the biggest equipment to give you the best ability, I think the more you can almost stay invisible the more candid the shots you are going to get, let them forget you being in the room. I have seen both things and you probably have seen it too where somebody comes in with a big film crew, boom mikes, lighting stands all that kind of stuff and all of a sudden the room seizes up like a deer caught in headlights. It like oh this is being filmed right now, so everyone goes quiet. If you can be in a room with a camera that almost looks consumer level almost to a point where you aren’t being taken serious, that’s when you get to capture people being more natural that’s when you really get something special.
Andrew : Even from working in a photo pit I see so many photographers overloaded with gear. My personal set up is really basic. I carry a back-up camera body in my bag, three lenses that can do what I need them to do certainly from a pit perspective. Usually, it’s just one lens that I run. I see so many photographers spend half of their three song time in the pit looking at their cameras digital screen and not being in the moment and missing moments. I have everything set up on my camera so that I rarely need to take it away from my face and can adapt to almost any situation on the fly. I have my little quirks in the way I shoot and what I look for. Sometimes it lighting patterns, what hits where best and try to be aware of my surroundings to enable something different. I very rarely have my camera pointed in the same spot as others in the pit. Sometimes I get stuff wrong, but those moments that you least expect to work can be the moments that give some amazing results. That is the appeal of your work with Nine Inch Nails and this collection of images they may not be technically perfect, but the moment and the way they are captured is.
Jonathan : It’s funny that you mention that, sometimes when you don’t know what you are doing is when you can get something that’s different. Whether that be by mistake or accident. With you saying you watch lighting patterns that is something that normally doesn’t happen, you will get something nobody else is going to get. Some might say why would you do that but it produces something different, something unique because you approached it in a different way. I’m sure you have seen to how many time you fail because you look at something differently and you Oh my gosh that’s not working (laughs). I will send my camera up on a stick and point the camera to where I think I’m taking pictures where I am thinking its pointed. Because now I’m up at a perspective that no one else can get. A lot of the times you miss it but once in a while you will get one that unique because it has come from a different perspective. Never be afraid to try a bunch of things.
Andrew : I love seeing images and taking images that I have never seen before. I am always changing how I shoot. I have fallen in love with black and white again lately and I will change my settings to shoot in black and white and be as manual as I can be. I like to do as little editing as I can on my images. That to me keeps a foot in film photography methods on a digital camera. I am getting inspired to dig out my old film camera and try my luck again.
Jonathan : I was actually talking to somebody about this the other day and why not do both. It would be interesting to do both. Pick one song and use your film camera and see what you get, you just don’t know what you do get, you aren’t guaranteed anything. I have had times where I have gotten a roll back and there have been like two images that have anything to them in a whole roll. Thankfully you aren’t being judged by that one roll.
There is one image in the exhibit where Trent is looking over at the camera, he is looking at the camera and there is a very intense expression on his face. That photo was on the first roll and like the tenth image on that roll and that tells me that is really about luck. Getting that live access, shooting on film you sometimes have to put faith in pure luck.
Andrew : Before we wrap this up is there something you would put out there to give anybody that is on the fence about seeing the exhibit a push to come and check it out?
Jonathan : For me it’s always about the people that are there, you might make a connection with somebody that lasts a lifetime. You might go to the event and obviously you have something in common with someone whether it be your music taste or love of the art of photography. When it comes to the images on display it’s going to be exciting to see how Steven curates the room. How when you walk through, to see how each images tells a story is a fun way to spend the night. I’m excited to meet people, talk to people and her their stories and answer any questions anyone has about being on that tour. It’s a unique way to discover that moment in my life and be able to ask questions about my time on that tour. It really is a special way to engage in that time thirty years ago.
Andrew : Thank you Jonathan for giving up your time to chat with me. It has been an absolute pleasure talking to you. I am super excited to check out the gallery at Wednesday’s Media and VIP launch and catch up in person. Your story has inspired me.
Jonathan : Same here, thank you so much too. Hats off to you too for capturing moments and experiences for people too right here. It’s very cool and I appreciate that.
WHERE: 524 FLINDERS STREET, MELBOURNE, VIC
WHEN: 6TH – 10TH MARCH 2024
THE DOWNWARD SPIRAL’ ALBUM RELEASE ANNIVERSARY FRIDAY 8TH MARCH
ARTIST TALK ON SATURDAY 9TH MARCH 12:30-2PM
OPENING HOURS
WED: 6:30PM – 8:30PM
THUR: 10:30 – 6PM
FRI – 10:30 – LATE
SAT: 10:30 – 4PM
SUN: 10:30 – 3PM